When did classicism emerge? Classicism - architectural styles - design and architecture grow here - artichoke

Among artistic styles Classicism, which became widespread in the advanced countries of the world in the period from the 17th to the beginning of the 19th century, is of no small importance. He became the heir to the ideas of the Enlightenment and manifested himself in almost all types of European and Russian art. He often came into conflict with the Baroque, especially at the stage of its formation in France.

Each country has its own age of classicism. It first developed in France - back in the 17th century, and a little later - in England and Holland. In Germany and Russia, the direction was established closer to the middle of the 18th century, when the time of neoclassicism had already begun in other countries. But this is not so significant. Another thing is more important: this direction became the first serious system in the field of culture, which laid the foundations for its further development.

What is classicism as a movement?

The name comes from the Latin word classicus, which means “exemplary”. The main principle was manifested in the appeal to the traditions of antiquity. They were perceived as the norm to which one should strive. The authors of the works were attracted by such qualities as simplicity and clarity of form, conciseness, rigor and harmony in everything. This applied to any works created during the period of classicism: literary, musical, pictorial, architectural. Each creator sought to find his place for everything, clear and strictly defined.

Main features of classicism

All types of art were characterized by following features that help you understand what classicism is:

• a rational approach to the image and the exclusion of everything related to sensuality;
• the main purpose of a person is to serve the state;
• strict canons in everything;
• an established hierarchy of genres, the mixing of which is unacceptable.

Concretization of artistic features

Analysis individual species art helps to understand how the style of “classicism” was embodied in each of them.

How classicism was realized in literature

In this type of art, classicism was defined as a special direction in which the desire to re-educate with words was clearly expressed. Authors works of art believed in a happy future where justice, freedom of all citizens, and equality would prevail. It meant, first of all, liberation from all types of oppression, including religious and monarchical. Classicism in literature certainly required compliance with three unities: action (no more than one storyline), time (all events fit within a day), place (there was no movement in space). More recognition in this style was given to J. Molière, Voltaire (France), L. Gibbon (England), M. Twain, D. Fonvizin, M. Lomonosov (Russia).

Development of classicism in Russia

The new artistic direction established itself in Russian art later than in other countries - closer to the middle of the 18th century - and occupied a leading position until the first third of the 19th century. Russian classicism, in contrast to Western European, relied more on national traditions. This is where his originality manifested itself.

Initially it came to architecture, where it reached its greatest heights. This was due to the construction of a new capital and the growth of Russian cities. The achievement of the architects was the creation of majestic palaces, comfortable residential buildings, country houses noble estates. The creation of architectural ensembles in the city center, which fully make it clear what classicism is, deserves special attention. These are, for example, the buildings of Tsarskoe Selo (A. Rinaldi), the Alexander Nevsky Lavra (I. Starov), the Spit of Vasilievsky Island (J. de Thomon) in St. Petersburg and many others.

The pinnacle of the architects’ activity can be called the construction of the Marble Palace according to the design of A. Rinaldi, in the decoration of which natural stone was used for the first time.

No less famous is Petrodvorets (A. Schlüter, V. Rastrelli), which is an example of landscape art. Numerous buildings, fountains, sculptures, the layout itself - everything amazes with its proportionality and cleanliness of execution.

Literary direction in Russia

The development of classicism in Russian literature deserves special attention. Its founders were V. Trediakovsky, A. Kantemir, A. Sumarokov.

However greatest contribution The poet and scientist M. Lomonosov contributed to the development of the concept of what classicism is. He developed a system of three styles, which determined the requirements for writing works of art, and created a model of a solemn message - an ode, which was most popular in the literature of the second half of the 18th century.

The traditions of classicism were fully manifested in the plays of D. Fonvizin, especially in the comedy “The Minor”. In addition to the mandatory observance of the three unities and the cult of reason, the features of Russian comedy include the following points:

• a clear division of heroes into negative and positive and the presence of a reasoner expressing the position of the author;
• the presence of a love triangle;
• the punishment of vice and the triumph of good in the finale.

Works of the era of classicism in general became the most important component in the development of world art.

Classicism (from the Latin classicus - “exemplary”) is an artistic movement (current) in the art and literature of the 17th - early 19th centuries, which is characterized by high civic themes and strict adherence to certain creative norms and rules. In the West, classicism was formed in the struggle against the magnificent Baroque. The influence of classicism on artistic life Europe XVII- XVIII centuries was widespread and long-lasting, and in architecture continued into the 19th century. Classicism, as a specific artistic movement, tends to reflect life in ideal images that gravitate toward the universal “norm” and model. Hence the cult of antiquity in classicism: classical antiquity appears in it as an example of perfect and harmonious art.

Writers and artists often turn to images of ancient myths (see Ancient literature).

Classicism flourished in France in XVII century: in drama (P. Corneille, J. Racine, J. B. Moliere), in poetry (J. Lafontaine), in painting (N. Poussin), in architecture. IN late XVII V. N. Boileau (in the poem “Poetic Art”, 1674) created an extensive aesthetic theory classicism, which had a huge impact on the formation of classicism in other countries.

The clash of personal interests and civic duty underlies the French classic tragedy, which reached ideological and artistic heights in the works of Corneille and Racine. Corneille's characters (Sid, Horace, Cinna) are courageous, stern people, driven by duty, completely subordinating themselves to serving the interests of the state. Showing contradictory mental movements in their heroes, Corneille and Racine made outstanding discoveries in the field of image inner world person. Imbued with the pathos of research human soul, the tragedy contained a minimum of external action and easily fit into the famous rules of the “three unities” - time, place and action.

According to the rules of the aesthetics of classicism, which strictly adheres to the so-called hierarchy of genres, tragedy (along with ode, epic) belonged to the “high genres” and was supposed to develop especially important social problems, resorting to ancient and historical subjects, and reflect only the sublime heroic aspects. “High genres” were opposed to “low” ones: comedy, fable, satire, etc., designed to reflect modern reality. La Fontaine became famous in the fable genre in France, and Moliere in the comedy genre.

In the 17th century, permeated advanced ideas Enlightenment and classicism are imbued with passionate criticism of the orders of the feudal world, protection of natural human rights, and freedom-loving motives. It is also distinguished by its great attention to national historical subjects. The largest representatives of educational classicism are Voltaire in France, J. W. Goethe and J. F. Schiller (in the 90s) in Germany.

Russian classicism originated in the second quarter of the 18th century, in the works of A. D. Kantemir, V. K. Trediakovsky, M. V. Lomonosov, and reached development in the second half of the century, in the works of A. P. Sumarokov, D. I. Fonvizina, M. M. Kheraskova, V. A. Ozerova, Ya. B. Knyazhnina, G. R. Derzhavina. It presents all the most important genres - from ode and epic to fable and comedy. A remarkable comedian was D. I. Fonvizin, author of the famous satirical comedies"Brigadier" and "Minor". Russian classical tragedy showed a keen interest in national history(“Dimitri the Pretender” by A.P. Sumarokov, “Vadim Novgorodsky” by Ya.B. Knyazhnin, etc.).

IN late XVIII - early XIX V. classicism both in Russia and throughout Europe is experiencing a crisis. He increasingly loses touch with life and withdraws into a narrow circle of conventions. At this time, classicism was subjected to sharp criticism, especially from the romantics.

Another influential style of the 17th century. became classicism (from the Latin “classicus” - “exemplary”). He focused on imitation of ancient models, which did not at all mean their simple repetition. The emergence of classicism as an integral style system was associated with the establishment of absolutism in France. The monarchs were impressed by the idea of ​​majestic order, impressive unity, and strict subordination. The state, claiming to be “reasonable,” sought to be seen as a stabilizing, unifying principle. Similar aspirations were inherent in the consciousness of the bourgeoisie, which shared the ideal of a rationally organized state. The attractive side of classicism was its moral and civic orientation.

Supporters of classicism believed that art was supposed to reflect not so much the real, but an ennobled, ideal life, built on the principles of rationality, contributing to the improvement of man and society. In this regard, classicism sought to express lofty ideals, to symmetry and strict organization, logical and clear proportions, to harmony of form and content of a literary, pictorial or musical work.

The aesthetics of classicism formed a strict hierarchy of genres. They were divided into "high"(tragedy, epic, ode, historical, mythological, religious picture, etc.) and "low"(comedy, satire, fable, genre painting, landscape, still life, etc.). Each genre had strict boundaries, and mixing them was considered unacceptable.

Architecture. In contrast to the pretentious Baroque, the architecture of Classicism was characterized by clear geometry of forms, logic and regularity of layout, a combination of a smooth wall with an order, porticoes, colonnades, statues, reliefs and restrained decor. To everyone appearance the building had to demonstrate clarity, order and representation. Symmetry has become an integral feature of all architectural compositions. The restrained and majestic art of the ancient Greeks and Romans became a role model, therefore the basis of the architectural language of classicism was an order close in proportions and forms to the ancient one. The spatial design of the buildings was distinguished by clear plans, a clear logic of the facade, in which the architectural decor served only as an “accompaniment” that did not hide general structure building. Already in the buildings of one of the founders of French classicism, the architect Francois Mansara(1598 - 1666) the plastic richness of the baroque decor of the facades is combined with the clarity and simplicity of the overall volumetric-spatial composition ( Maisons Palace– Laffite).

Strict orderliness was even introduced into nature. French garden master and landscape architect Andre Le Nôtre(1613–1700) became the creator of the regular system, the so-called “ French» park.

The interiors of the buildings were distinguished by soft colors, moderate use of plastic and sculptural details, and extensive use of pictorial and perspective effects.

Classicism was adopted as the leading style in the absolutist monarchies of Europe. He also had great success in England, where from the end of the 17th century. became the leading style of official buildings. The most notable of them was the London Cathedral of St. Pavel- the largest Protestant church in the world. Ideas of the greatest English architect and scientist ChristopherRena(1632–1723), embodied in this temple, had a significant influence on the development of church architecture in Europe and the USA.

In France, during the reign of Louis XIV (1643–1715), on the basis of classicism, the formation of the so-called “ Big style" Strict and rational classicism could not fully reflect the triumph and greatness absolute monarchy. Therefore, French masters turned to the forms of Italian Baroque, from which classicism borrowed some of the decorative elements. The result of this was the creation of two grandiose ensembles - the royal palace Louvre and country royal residence Versailles. One of the leading masters of French classicism took an active part in their construction. Louis Levo(c.1612–1670). Another famous creator of Versailles is an architect and urban planner Jules Hardouin-Mansart(1646–1708) was also the author of the magnificent Cathedral of the Invalides in Paris. The “Great Style” ensured the gradual spread of the ideas of classicism in most European countries and laid the foundations for an international European court culture.

Painting. As in other forms of art, in painting artists had to focus on perfect examples of antiquity and the High Renaissance. The subjects of the paintings were borrowed mainly from mythology and ancient history, and the heroes were portrayed as people of strong characters and actions. One of the main ones was the theme of duty, the theme of affirming the highest ethical principles. According to the aesthetics of classicism, reason was the main criterion of beauty, therefore, in contrast to baroque, classicism did not allow exaggerated emotional expressiveness. Measure and order became the basis of classical painting. The paintings had to be distinguished by overall harmony, and the figures - by severity and classical completeness. The main elements of form modeling were line and chiaroscuro. Color was assigned a subordinate role; it was used to reveal the plasticity of figures and objects, to separate the spatial plans of the picture.

The logical development of the plot, the proportionality of the parts of the whole, external orderliness, harmony, balance of composition - all this became characteristic features of the style of the famous French artist NikolaPoussin(1594–1665). Poussin often turned to themes from ancient history (“ Death of Germanicus"), mythology (" Kingdom of Flora"), putting them at the service of his contemporary era. Glorifying examples of high morality and civic valor, he sought to educate a perfect personality. The artist revealed the deep philosophical meaning of Christian dogmas in the cycle “ Seven sacraments».

The principles of classicism are clearly reflected in the landscape. Artists sought to depict not real, but “improved” nature, created by the artistic imagination of the creator. The “ideal landscape”, which embodied the classicists’ dream of the “golden age” of humanity, was reflected in the paintings Claude Lorrain(1600–1682). His idyllic landscapes with endless distances (“ Sanctuary at Delphi") had a huge influence on the development of European, and, above all, English, landscape painting.

Theater and literature. The laws of classicism were most clearly manifested in drama. In the 17th century the main rules for constructing a classic tragedy were formed: unity of action, place and time; simplicity of the plot, in which reason and duty prevailed over elemental human feelings and passions. The main intrigue should not confuse the viewer and deprive the picture of its integrity. Much attention was paid to the inner world of the hero, who embodies the contradiction of the human personality.

A prominent representative of classicism was the French playwright Pierre Corneille(1606-1684). The theme of the state as the embodiment of reason and national interests was heard in many of his tragedies (“ Horace», « Cinna"). The tragic conflict of passion and duty lay at the heart of the tragicomedy " Sid».

Problems of the relationship between the individual and the state have become the basis of the plot of many tragedies Jean Racine(1639-1699). His " Phaedra"became the pinnacle of dramaturgy not only of the writer himself, but of all French classicism.

The demands of classicism were less clearly manifested in comedies. In the 17th century French drama gave birth to the greatest comedian, creator of the genre of social comedy Jean Baptiste Moliere(1622–1673). In his work, he ridiculed the class prejudices of the nobles, the narrow-mindedness of the bourgeoisie, the hypocrisy of the clergy, and the corrupting power of money (“ Tartuffe», « Don Juan», « Tradesman in the nobility"). It was thanks to Moliere that in 1680 a famous theater"Comédie Française".

In the theater of the 17th century. a classic school of tragic play developed ( Floridor, Scaramouche, M. Bejart, Molière). It was characterized by a special manner of behavior of actors on stage, measured reading of poetry, and a whole system of intonations and gestures.

In the literature of classicism, a significant role is played by prose. Prose works written in the classical style, as a rule, reflected the political, philosophical, religious and ethical views of their authors and were of a pronounced educational and moralizing nature. Prose literature was dominated by works in the form of letters, moralistic or philosophical experiments, aphorisms, sermons, funeral eulogies, and memoirs.

Music. In France the principles of classicism influenced the formation of the French operatic style. Thus, in the operas of the outstanding French composer and conductor Jean-Baptiste Lully(1632–1687) embodied such characteristic classicist features as pathos and heroism, the primacy of the principle of “musical symmetry,” and the predominance of mythological subjects (“ Perseus», « Phaeton»).

Classicism also penetrated into instrumental music. In Italy, a tradition of classical violin technique arose, which has largely survived to this day. Its founder was Arcangelo Corelli(1653–1713). He became one of the creators of the violin sonata and the genre concerto grosso(“big concert”), which served as the basis for the development of symphonic music.

Originating in absolutist France, classicism gained wide recognition in almost all European countries, becoming a notable milestone in their artistic development.

At the forefront of the development of classicism was Napoleonic France, followed by Germany, England and Italy. Later this trend came to Russia. Classicism in architecture became a kind of expression of rationalistic philosophy and, accordingly, was characterized by the desire for a harmonious, reasonable order of life.

Classicism style in architecture

The era of classicism came at a very important period in European urban planning. At that time, not only residential units were built en masse, but also non-residential facilities and public places requiring architectural design: hospitals, museums, schools, parks, etc.

The emergence of classicism

Although classicism originated in the Renaissance, it began to actively develop in the 17th century, and by XVIII century has already become quite firmly entrenched in European architecture. The concept of classicism was to form all architectural forms in the likeness of ancient ones. The architecture of the era of classicism is characterized by a return to such ancient standards as monumentality, severity, simplicity and harmony.

Classicism in architecture appeared thanks to the bourgeoisie - it became its art and ideology, since it was antiquity that bourgeois society associated with the correct order of things and the structure of the universe. The bourgeoisie opposed itself to the aristocracy of the Renaissance and, as a result, opposed classicism to “decadent art.” She attributed such styles of architecture as Rococo and Baroque to such art - they were considered too intricate, lax, and nonlinear.

The ancestor and inspirer of the aesthetics of the classicism style is considered to be Johann Winckelmann, a German art critic who is the founder of the history of art as a science, as well as current ideas about the art of antiquity. The theory of classicism is confirmed and strengthened in his work “Laocoon” by the German critic-educator Gotthold Lessing.

Classicism in the architecture of Western Europe

French classicism developed much later than English. The rapid development of this style was hampered by adherence to the architectural forms of the Renaissance, in particular, the late Gothic Baroque, but soon the French architects surrendered to the onset of reforms in architecture, opening the way to classicism.

The development of classicism in Germany occurred rather undulatingly: it was characterized either by strict adherence to the architectural forms of antiquity, or by their mixing with the forms of the Baroque style. With all this, German classicism was very similar to classicism in France, so quite soon the leading role in the spread of this style in Western Europe went to Germany and its architectural school.

Due to the difficult political situation, classicism came to Italy even later, but soon after that it was Rome that became the international center of classicist architecture. Classicism has reached high level and in England as a design style for country houses.

Features of classicism in architecture

The main features of the classicism style in architecture are:

• simple and geometric shapes and volumes;
• alternating horizontal and vertical lines;
• balanced room layout;
• restrained proportions;
• symmetrical home decoration;
• monumental arched and rectangular structures.

Following the order system of antiquity, elements such as colonnades, rotundas, porticos, reliefs on the walls, and statues on the roof are used in the design of houses and plots in the classicist style. Basics color scheme decoration of buildings in the classicism style - light, pastel colors.

Windows in the classicist style are usually elongated upward, rectangular in shape, without flashy design. The doors are most often paneled, sometimes decorated with statues in the form of lions, sphinxes, etc. The roof of the house, on the contrary, is of a rather intricate shape, covered with tiles.

The materials most often used to create houses in the classicist style are wood, brick, and natural stone. When decorating, gilding, bronze, carving, mother-of-pearl and inlay are used.

Russian classicism

Classicism in architecture Russia XVIII century differs quite significantly from European classicism, because he abandoned the models of France and followed his own path of development. Although Russian architects relied on the knowledge of Renaissance architects, they still sought to apply traditional techniques and motifs to the architecture of Russian classicism. Unlike European classicism, Russian classicism of the 19th century, and later Russian Empire style, used military and patriotic themes in their design (wall decor, stucco molding, choice of statues) against the backdrop of the War of 1812.

The founders of classicism in Russia are considered to be Russian architects Ivan Starov, Matvey Kazakov and Vasily Bazhenov. Russian classicism is conventionally divided into three periods:

• early - the period when the features of Baroque and Rococo had not yet been completely supplanted from Russian architecture;
• mature - strict imitation of the architecture of antiquity;
• late, or high (Russian Empire style) - characterized by the influence of romanticism.

Russian classicism is also distinguished from European classicism by the scale of construction: it was planned to create entire districts and cities in this style, while new classical buildings had to be combined with the old Russian architecture of the city.

A striking example of Russian classicism is the famous Pashkov House, or Pashkov House - now Russian state library. The building follows the balanced, U-shaped layout of classicism: it consists of a central building and side wings (outbuildings). The wings are designed as a portico with a pediment. On the roof of the house there is a belvedere in the shape of a cylinder.

Other examples of buildings in the classicist style in Russian architecture are the Main Admiralty, Anichkov Palace, Kazan Cathedral in St. Petersburg, St. Sophia Cathedral in Pushkin and others.

You can find out all the secrets of the classicism style in architecture and interior in the following video:

The art of classicism

Introduction

The theme of my work is the art of classicism. This topic really interested me and caught my attention. Art in general covers a lot of things, it includes painting and sculpture, architecture, music and literature, and in general everything that is created by man. Looking through the works of many artists and sculptors, they seemed very interesting to me; they attracted me with their ideality, clarity of lines, correctness, symmetry, etc.

The purpose of my work is to consider the influence of classicism on painting, sculpture and architecture, on music and literature. I also consider it necessary to define the concept of “classicism”.

1. Classicism

The term classicism comes from the Latin classicus, which literally means exemplary. In literary and art criticism, the term denotes a specific direction, artistic method and art style.

This art direction is characterized by rationalism, normativity, a tendency toward harmony, clarity and simplicity, schematicism, and idealization. Character traits are expressed in the hierarchy of “high” and “low” styles in literature. For example, in dramaturgy, unity of time, action and place was required.

Supporters of classicism adhered to fidelity to nature, the laws of the rational world with its inherent beauty, all this was reflected in symmetry, proportions, place, harmony, everything should have been presented as ideal in its perfect form.

Under the influence of the great philosopher and thinker of that time, R. Descartes, the features and characteristics of classicism spread to all spheres of human creativity (music, literature, painting, etc.).

2. Classicism and the world of literature

Classicism as literary direction formed at 16 -17. Its origins lie in the activities of Italian and Spanish academic schools, as well as the association French writers“Pleiades”, who during the Renaissance turned to ancient art, to the norms set out by ancient theorists. (Aristotle and Horace), trying to find harmonious images in ancient new support for those who have experienced a deep crisis of the ideas of humanism. The emergence of classicism was historically conditioned by the emergence of an absolute monarchy - a transitional form of state, when the weakened aristocracy and the bourgeoisie, which had not yet gained strength, were equally interested in the unlimited power of the king. Classicism reached its highest flowering in France, where its connection with absolutism was especially clear.

The activities of the classicists were led by the French Academy, founded in 1635 by Cardinal Richelieu. The creativity of writers, artists, musicians, actors of classicism in to a large extent depended on the favorable king.

As a movement, classicism developed differently in European countries. In France, it developed by the 1590s and became dominant by the middle of the 17th century, the highest flowering occurred in 1660-1670. Then classicism underwent a crisis and in the 1st half of the 18th century, Enlightenment classicism became the successor of classicism, which in the 2nd half of the 18th century lost its leading position in literature. During French Revolution In the 18th century, Enlightenment classicism formed the basis of revolutionary classicism, which dominated all spheres of art. Classicism practically degenerated in the 19th century.

As an artistic method, classicism is a system of principles of selection, evaluation and reproduction of reality. The main theoretical work, which sets out the basic principles of classical aesthetics, is “The Poetic Art” of Boileau (1674). The classicists saw the purpose of art in the knowledge of truth, which acts as the ideal of beauty. The classicists put forward a method for achieving it, based on three central categories of their aesthetics: reason, example, taste, which were considered objective criteria of artistry. Great works are not the fruit of talent, not inspiration, not artistic fantasy, but persistently following the dictates of reason, studying classical works antiquity and knowledge of the rules of taste. In this way the classicists brought together artistic activity from the scientific, therefore, the philosophical rationalistic method of Descartes turned out to be acceptable for them. Descartes argued that the human mind has innate ideas, the truth of which is beyond doubt. If one moves from these truths to unsaid and more complex positions, dividing them into simple ones, methodically moving from the known to the unknown, without allowing logical gaps, then any truth can be clarified. This is how reason became the central concept of the philosophy of rationalism, and then the art of classicism. The world seemed motionless, consciousness and ideal - unchanging. The aesthetic ideal is eternal and the same at all times, but only in the era of Antiquity was it embodied in art with the greatest completeness. Therefore, to reproduce the ideal, it is necessary to turn to ancient art and study its laws. That is why imitation of models was valued by classicists much higher than original creativity.

Turning to Antiquity, the classicists abandoned the imitation of Christian models, continuing the struggle of the Renaissance humanists for art free from religious dogma. The classicists borrowed external features from Antiquity. Under the names of ancient heroes, people of the 17th and 18th centuries were clearly seen, and ancient plots made it possible to stage the most acute problems modernity. The principle of imitation of nature was proclaimed, strictly limiting the artist’s right to imagination. In art, attention was paid not to the particular, individual, random, but to the general, typical. Character literary hero doesn't have individual traits, acting as a generalization of a whole type of people. Character is distinctive property, general quality, specificity of a particular human type. Character can be extremely, implausibly sharpened. Morals mean general, ordinary, customary, character means special, rare precisely in the degree of expression of the property dispersed in the morals of society. The principle of classicism led to the division of heroes into negative and positive, into serious and funny. Laughter becomes satirical and refers mainly to negative heroes.

Classicists are not attracted to all of nature, but only to “pleasant nature.” Everything that contradicts the model and taste is expelled from art; a whole number of objects seem “indecent”, unworthy high art. In the case when an ugly phenomenon of reality must be reproduced, it is reflected through the prism of the beautiful.

Classicists paid much attention to the theory of genres. Not all established genres met the principles of classicism. A previously unknown principle of the hierarchy of genres appeared, asserting their inequality. There are main and non-main genres. By the mid-17th century, tragedy had become the main genre of literature. Prose, especially fiction, was considered a lower genre than poetry, so prose genres that were not designed for aesthetic perception became widespread - sermons, letters, memoirs, fiction fell into oblivion. The principle of hierarchy divides genres into “high” and “low”, and certain genres are assigned artistic fields. For example, “high” genres (tragedy, ode) were assigned problems of a national nature. In “low” genres it was possible to touch upon private problems or abstract vices (stinginess, hypocrisy). The classicists paid the main attention to tragedy; the laws of its writing were very strict. The plot was supposed to reproduce ancient times, life of distant states ( Ancient Rome, Ancient Greece); it had to be guessed from the title, the idea - from the first lines.

Classicism as a style is a system of pictorial - expressive means, typifying reality through the prism of ancient models, perceived as the ideal of harmony, simplicity, unambiguity, and an ordered system. The style reproduces the rationalistically ordered outer shell of ancient culture, without conveying its pagan, complex and undifferentiated essence. The essence of the classicism style was to express the view of the world of a person of the absolutist era. Classicism was distinguished by clarity, monumentality, the desire to remove everything unnecessary, to create a single and integral impression.

The largest representatives of classicism in literature are F. Malherbe, Corneille, Racine, Moliere, La Fontaine, F. La Rochefoucauld, Voltaire, G. Miltono, Goethe, Schiller, Lomonosov, Sumarokov, Derzhavin, Knyazhnin. The works of many of them combine features of classicism and other movements and styles (Baroque, Romanticism, etc.). Classicism developed in many European countries, in the USA, Latin America etc. Classicism was repeatedly revived in the forms of revolutionary classicism, empire style, neoclassicism and influences the world of art to this day.

3. Classicism and fine arts

The theory of architecture is based on the treatise of Vitruvius. Classicism is the direct spiritual successor of ideas and aesthetic principles Renaissance, reflected in renaissance art and theoretical works of Alberti, Palladio, Vignola, Serlio.

In different European countries, the time stages of the development of classicism do not coincide. So already in the 17th century, classicism occupied significant positions in France, England, Holland. In the history of German and Russian art, the era of classicism dates from the 2nd half of the 18th century - the 1st third of the 19th century; for the previously listed countries, this period is associated with neoclassicism.

The principles and postulates of classicism developed and existed in constant polemics and at the same time in interaction with other artistic aesthetic concepts: mannerism and baroque in the 17th century, rococo in the 18th century, romanticism in the 19th century. At the same time, the expression of style in different types and genres of art of a certain period was uneven.

In the second half of the 16th century, there was a collapse of the single harmonious vision of the world and man as its center inherent in the Renaissance culture. Classicism is characterized by normativity, rationality, condemnation of everything subjective and a fantastic demand from art for naturalness and correctness. Classicism also has an inherent tendency towards systematization, towards the creation of a complete theory. artistic creativity, to the search for unchanging and perfect samples. Classicism sought to develop a system of general, universal rules and principles aimed at comprehending and implementing artistic means the eternal ideal of beauty and universal harmony. For this direction Characteristic concepts are clarity and measure, proportion and balance. The key ideas of classicism were set out in Bellori’s treatise “Lives of contemporary artists, sculptors and architects" (1672), the author expressed the opinion that it was necessary to choose a middle path between mechanically copying nature and leaving it into the realm of fantasy.

Ideas and perfect images of classicism are born from the contemplation of nature, ennobled by the mind, and nature itself in classical art appears as a purified and transformed reality. Antiquity - best example natural art.

In architecture, the trends of classicism made themselves known in the 2nd half of the 16th century in the works of Palladio and Scamozzi, Delorme and Lescaut. Classicism of the 17th century had a number of features. Classicism was distinguished by a rather critical attitude towards the creations of the ancients, which were perceived not as an absolute example, but as a starting point in the value scale of classicism. The masters of classicism set as their goal to learn the lessons of the ancients, but not in order to imitate them, but in order to surpass them.

Another feature is a close connection with others artistic directions, primarily with Baroque.

For the architecture of classicism, such qualities as simplicity, proportionality, tectonics, regularity of facade and volumetric-spatial composition, the search for proportions that are pleasing to the eye and integrity are of particular importance architectural image, expressed in the visual harmony of all its parts. In the 1st half of the 17th century, classicist and rationalist mindsets were reflected in a number of buildings by Desbros and Lemercier. In the second half of the 1630s-1650s, the inclination towards geometric clarity and integrity of architectural volumes and closed silhouette intensified. The period is characterized by a more moderate use and uniform distribution of decorative elements, awareness of the independent significance of the free plane of the wall. These trends emerged in the secular buildings of Mansar.

Nature and landscape art became an organic part of classicist architecture. Nature acts as a material from which the human mind can create correct forms, architectural in appearance, mathematical in essence. The main exponent of these ideas is Le Nôtre.

In the fine arts, the values ​​and rules of classicism were outwardly expressed in the requirement for clarity of plastic form and ideal balance of composition. This determined the priority of linear perspective and drawing as the main means of identifying the structure and the “idea” of the work embedded in it.

Classicism penetrated not only the sculpture and architecture of France, but also italian art.

Public monuments became widespread in the era of classicism; they gave sculptors the opportunity to idealize military valor and the wisdom of statesmen. Fidelity to the ancient model required sculptors to depict models naked, which conflicted with accepted moral norms.

Private customers of the Classical era preferred to immortalize their names in tombstones. The popularity of this sculptural form was facilitated by the arrangement of public cemeteries in the main cities of Europe. In accordance with the classicist ideal, figures on tombstones are usually in a state of deep repose. The sculpture of classicism is generally alien to sudden movements and external manifestations of emotions such as anger.

Late, Empire classicism, represented primarily by the prolific Danish sculptor Thorvaldsen, is imbued with a dryish pathos. Purity of lines, restraint of gestures, and dispassionate expressions are especially valued. In choosing role models, the emphasis shifts from Hellenism to the archaic period. Come into fashion religious images, which, in Thorvaldsen’s interpretation, produce a somewhat chilling impression on the viewer. Tombstone sculpture of late classicism often bears a slight touch of sentimentality

4. Music and classicism

Classicism in music was formed in the 18th century on the basis of the same complex of philosophical and aesthetic ideas, as classicism in literature, architecture, sculpture and fine arts. No ancient images were preserved in music; the formation of classicism in music occurred without any support.

The brightest representatives of classicism are the composers of the Vienna Classical School Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. Their art admires the perfection of compositional technique, the humanistic orientation of creativity and desire, especially noticeable in the music of V.A. Mozart, to display perfect beauty through music. The very concept of the Vienna Classical School arose shortly after the death of L. Van Beethoven. Classic art distinguishes a delicate balance between feelings and reason, form and content. The music of the Renaissance reflected the spirit and breath of its era; in the Baroque era, the subject of display in music was the human condition; the music of the Classical era glorifies the actions and deeds of man, the emotions and feelings he experiences, the attentive and holistic human mind.

A new bourgeoisie is developing musical culture with its characteristic private salons, concerts and opera performances, open to any public, a faceless audience, publishing activities and music criticism. In this new culture the musician has to defend his position as an independent artist.

The heyday of Classicism began in the 80s of the eighteenth century. In 1781 J. Haydn created several innovative works, among which are his String Quartet op. 33; The premiere of V.A.’s opera is taking place. Mozart's "The Abduction from the Seraglio"; F. Schiller's drama "The Robbers" and I. Kant's "Critique of Pure Reason" are published.

In the era of Classicism, music is understood as a supra-national art, a kind of universal language understandable to everyone. Arises new idea about the self-sufficiency of music, which not only describes nature, entertains and educates, but is also capable of expressing true humanity using a simple and understandable metaphorical language.

Tone musical language changes from sublimely serious, somewhat gloomy, to more optimistic and joyful. For the first time the basis musical composition the melody and dramatic contrasting development become imaginative, free from empty bombast, and are embodied in sonata form, based on the opposition of the main musical themes. The sonata form predominates in many works of this period, including sonatas, trios, quartets, quintets, symphonies, which at first did not have strict boundaries with chamber music, and three-part concerts, for the most part piano and violin. New genres are developing - divertissement, serenade and cassation.

Conclusion

classicism art literature music

In this work, I examined the art of the Classical era. When writing the work, I read many articles touching on the topic of classicism, and I also looked at many photographs depicting paintings, sculptures, and architectural structures of the classicism era.

I believe that the material I have provided is sufficient for a general understanding of this issue. It seems to me that to develop a broader knowledge of classicism it is necessary to visit museums visual arts, listen musical works of that time and familiarize yourself with at least 2-3 literary works. Visiting museums will allow you to feel the spirit of the era much more deeply, to experience those feelings and emotions that the authors and the ends of the works tried to convey to us.

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